Soundtrack Movie Review

Soundtrack Hindi Movie Review latest news updated recently. Soundtrack is an awaited upcoming Bollywood Movie directed by Neerav Ghosh, starring Rajeev Khandelwal and Soha Ali in lead.

Soundtrack Hindi Movie Review as per the available sources reveals that the movie is a remake of It's All Gone Pete Tong an english movie which is all about a guy who comes to the city to make it big who is a prolific musician and DJ. It traces his alcohol-drug-and-sex-fueled meteoric rise, as he battles his internal demons and a damaging handicap. Soundtrack Hindi Movie is scheduled to release on September 30, 2011. Music for Soundtrack Hindi Movie is composed by Midival Punditz and Karsh Kale.

Stand By Movie Review, Review Of Stand By Movie

Several interesting films on sports/sportsmen have been made the world over. In India, a film on sports -- cricket, football and hockey -- has caught the attention of viewers quite a few times, in the past. Most of them starred relative newcomers or unknown faces, but registered an impact nonetheless because the viewer was able to connect with not just the sport, but also the drama integrated in the plot. STANDBY does not have any mainstream actor or a recognizable star on the posters/billboards, but it has a riveting story to tell and that's what makes it a watchable experience.

STANDBY is helmed by eminent film-maker Sanjay Surkar, who has four National Awards to his credit. And he chooses sports as the topic. The dirty politics in the field of sports, to be specific. He also makes an attempt to highlight the fact that like cricket, football is an equally loved sport, but the high adrenalin game is ignored in our country, with cricket and cricketers being given more prominence. Also, the politicians' constant meddling in sports can hinder a sportsman's career. Surkar tells this in very clear words in STANDBY.

STANDBY is not just about sports, but also talks of friendship gone sour. How ambitions can create a rift and drive a wedge between thick pals. Though the film is a notch above the ordinary, with Surkar keeping the viewers glued to the proceedings in most parts, what acts as a roadblock, at places, are the songs that have been juxtaposed in the plotline. Frankly, STANDBY should have been a songless film; that would've only made it stand apart from films of its ilk.

STANDBY tells the story of Rahul [Adinath Kothare] and Shekhar [Siddharth Kher], two football players from Maharashtra, sharing a common passion -- football. It is their desire to represent India one day on the international stage. They get this opportunity to fulfill their dream when Maharashtra wins the prestigious Santosh Trophy after a decade.

But things take an ugly turn as Shekhar, the son of an influential industrialist J.P. Verma [Dalip Tahil] and the captain of Maharashtra team, is not selected in the main squad. The Selection Committee Chairman, who has close ties with J.P. Verma, and the Federation President select Shekhar as a standby striker with the hope of getting him in the team by removing one of the players. What follows is dirty politics.

Recall soccer flicks like SAAHEB, GOAL and the recent CYCLE KICK. STANDBY is about football as well and I must add, it's an earnest effort that stays with you after the movie has concluded. In fact, there are moments in the film [when the coach confronts the minister on two occasions] and also the finale [when the two friends battle it out on the field] that are brilliantly executed.

But, like I pointed out earlier, the songs could've been avoided. One of the songs -- on a chessboard set -- though imaginatively filmed, wasn't needed in the first place. Ditto for the item song on Yana Gupta. Also, the love story is half-baked and serves no purpose. Yet, despite the hiccups, one cannot deny the fact that Surkar has made an absorbing film. The on-field games as well as the games people play off the field are well handled.

STANDBY works also because of the fresh casting. Siddharth, seen earlier in TEEN PAATI, gets it right. He's got the attitude to carry off his part well. But it is Adinath Kothare who catches you with complete surprise in a challenging role that offers him ample scope to exhibit his range as an actor. Here's a talent to watch out for! Sachin Khedekar is a fine actor and proves his credentials yet again. Manish Chaudhary, as the coach, is top notch. In fact, he steals the show every time he appears on screen. His piercing eyes do a lot of talking in those silent moments. Dalip Tahil, Avtar Gill, Surendra Pal and Nagesh Bhosle are perfect for their parts.

On the whole, STANDBY is a fairly good effort that drives home a point. Regardless of how it fares at the box-office, you can't deny the fact that it's a well-made, sincere effort.

Yeh Dooriyan Movie Review, Review Of Yeh Dooriyan Movie

There's an interesting dialogue in YEH DOORIYAN that mirrors the mindset of a number of people. In one of the crucial moments of the story, Deepshikha tells her estranged boyfriend, Kaishav, that the society won't object if a woman marries a man twice her age, who also has kids from his previous marriage. But it would raise eyebrows if a man marries a woman twice his age. Well, that sets you thinking!

A divorcee with two kids. Is life tough? For a single mother, who wears the pants and calls the shots, plus manages home and kids, it's a challenge for sure. So what happens when she ends up falling in love with a much younger guy? How does the society react to a situation like that? That, in a nutshell, is the gist of YEH DOORIYAN.

YEH DOORIYAN may not be that perfect film that talks of life after divorce, but you can't deny that Deepshikha makes an effort to portray the reality with a lot of honesty. Though it's a first-time effort, the writing and even the handling of a few scenes does spring a pleasant surprise.

A woman in her 30s, Simmi [Deepshikha Nagpal] is strong, beautiful and a famous chorographer. A divorcee, she lives by herself with her two kids. Her friends and also her parents want her to settle down again.

Simmi meets a good-looking model Raj [Kaishav Arora], who joins her dance academy. Raj loves the kids and vice-versa. Gradually, Simmi too falls in love with him. But a section of the society doesn't like the idea of watching a bachelor involved with a divorcee with two kids and create obstacles in their story. Meanwhile, Simmi's ex husband [Inder Kumar] wants her back in his life.

Beginning a new relationship, after divorce, is not easy. You either become negative or you pick up pieces of your life and start afresh. Deepshikha shows exactly that in YEH DOORIYAN. This may be Deepshikha's debut film as a director, but she has handled a number of sequences realistically. For instance, the scene at the interval point, when the mother [Kunika] lands up and creates chaos in their lives, is very well executed. Also, the lengthy confrontation between Deepshikha and her estranged husband and even the climax are interesting. But there are rough edges too. Kaishav's reasons to stay away from Deepshikha aren't convincing. Similarly, his apology in the end doesn't cut ice either.

The film has a couple of songs, but the best one is reserved for the end credits. Cinematography is strictly okay.

Deepshikha enacts her part with utmost conviction. In fact, she has handled a number of tough sequences without going overboard. Kaishav has screen presence, but needs to work hard on dramatic sequences. Ayub Khan appears in a cameo. Inder Kumar does well. Achint Kaur is wasted. Ditto for Rajesh Khera. Chitrashi Rawat and Delnaaz Paul don't really get much to do. Kunika is superb in a small, but significant role.

 

Aarakshan Movie Review By Taran Adarsh

A Prakash Jha film is talked about for more reasons than one. It provides food for thought. It sets you thinking. Be it DAMUL, MRITYUDAND, GANGAAJAL, APAHARAN or RAAJNEETI, there was enough fodder in each of those films. Besides, each of those films left an indelible impression on the minds of the viewer. So, quite naturally, the expectations from his new release AARAKSHAN are enormous. This one also tackles a rather serious social issue -- caste-based reservation. However, AARAKSHAN not only talks about reservation, but also about the commercialization of educational institutions.

Not many storytellers have repeatedly succeeded in creating pragmatic films on societal matters, but Jha holds the distinction of doing so in film after film. Be it DAMUL [on bonded labor], MRITYUDAND [on gender inequity], GANGAAJAL [also about the contentious blinding episode at Bhagalpur], APAHARAN [on the abduction situation in Bihar] or RAAJNEETI [on the political state of affairs], Jha's cinema has always illustrated harsh realism in a transfixing and riveting manner.


We believe in equal rights for all and yet, we continue to be a caste-based society. Through AARAKSHAN, Jha portrays the agony that the youth goes through. The film-maker wants the spectator to comprehend matters around one of the most controversial policies of caste-based reservations in government jobs and educational institutions, a hitherto untouched theme for Hindi cinema.

Like Jha's earlier attempts, AARAKSHAN is, without doubt, a high-voltage socio-political drama. But, most importantly, it takes on issues head-on, without mincing words. However, the storyteller ensures that the film, at no point, gets preachy or drifts into the sermonizing mode. Like Jha's films, AARAKSHAN has a story to tell and several super dramatic moments. Sure, it takes time to comprehend what's going on initially, due to the fact that the film has multiple characters and too much seems to be happening from the start itself, but things fall in place as the story moves forward and the tension starts escalating. While the first hour leaves a hammer-strong impact and is captivating in most parts, it's the second hour that comes across as a mixed bag. More on that later!

AARAKSHAN tells the story of Prabhakar Anand [Amitabh Bachchan], the idealistic principal of a college that he has single-handedly turned into the state's best. It is the story of his loyal disciple, Deepak Kumar [Saif Ali Khan], who will do anything for his Sir. Of Deepak's love for Prabhakar's daughter Poorbi [Deepika Padukone], of his friendship with Sushant [Prateik].

Centered on one of the most controversial issues of recent years, the story suddenly becomes a rollercoaster ride of high drama, conflict and rebellion, which tests their love and friendship for one another and their loyalty to Prabhakar Anand.
Gender bias and caste-based politics are two paramount problems plaguing our society and it's not easy to depict these two issues with accuracy on screen. I am no one to comment whether AARAKSHAN would be able to throw up any enduring solution to the problem, but I am sure that the film would seize your mind and make you deliberate on the issues facing the nation. And that, to me, is akin to accomplishing what Jha must've set out when he green-lit AARAKSHAN. One also relates to the subject instantly because it mirrors the thoughts of a common man, since every family is genuinely concerned about the education and job their child will get.
On the whole, AARAKSHAN communicates an engaging story with very relatable characters. It's a movie that is truly inspiring and thought-provoking, but at the same time, its running time [almost 2.45 hours] is a deterrent. The film is mired in controversies ever since Prakash Jha announced the project, but the controversies will only enhance the curiosity-value for this film. AARAKSHAN not only works as a film, but also as a tool to drive home a forceful message. It's a daring, heroic, commanding and an engaging film that shouldn't be missed!

Warning Movie Review, Review Of Warning Movie

Directly or indirectly, terrorism has influenced the lives of all and sundry. The issue has been portrayed in numerous motion pictures. Yet another film on terrorism may seem tedious, which is why, I presume, Karan Razdan must have added an unexpected twist to the story of his new film THE WARNING. Replicating the 26/11 attacks in Mumbai at the very commencement, the writer-director merges supernatural and the concept of karma in the plotline of his new endeavor. What happens to the terrorist in his afterlife? That's a first for a Bollywood film.

However, let me add, the emphasis in THE WARNING isn't on terrorism alone, but supernatural as well. Souls don't die… People communicate with the dead… At the same time, THE WARNING doesn't make you shriek, like most films that tackle the issue of supernatural do, since it's only towards the finale that the identity of the spirit is revealed. An interesting concept, indeed!

But not all interesting concepts transform into fascinating films. Sure, the concept of THE WARNING had the potential to strike a chord, but what unveils on screen fails to register an impact. While the issue of terrorism tries to borrow from real life, the supernatural element could've been the USP of this enterprise. Unfortunately, it's half-baked!

A boatman Ramsharan [Karan Razdan] is captured on high seas by the mujahideen. His trawler is taken over. Men working under him are killed. The course of his trawler is altered. Azaan Khan [Atul Kulkarni], who is the leader of the jihadis, is on a mission to get into India and kill innocent people. A fight takes place whereby Ramsharan is shot dead by Azaan.

Ramsharan's family in the village consisting of his father [Satish Kaushik], mother [Ila Arun], wife [Rituparna Sengupta] and daughter Muskaan [Jannat] grieve the death of Ramsharan. Muskaan has a lot of innocent questions to ask about her father's death. In fact, the concept of death is alien to her.

A spirit begins to haunt Muskaan. The dead are trying to reach out to her. A maulana [Anang Desai] tries to help the family. He introduces them to Peer Jammatuddin Shah Baba [Anupam Kher]. A strange thing happens one night. The spirit attacks. It writes something on the wall. Whose spirit is it? What is it trying to say or do?

When you have an interesting plot on hand, it's a responsibility, in fact a task, to deliver a film that leaves a stunning impression on the viewer. In this case, since it combines terrorism andsupernatural, it ought to thrill and scare you during the course of the journey, which, regrettably, it doesn't. THE WARNING succeeds in bits and spurts. The finale, when the spirit communicates with the family, is a redeeming aspect. But the path undertaken by the screenplay to reach the finale leaves a lot to be desired. Also, the sequences involving Zakir Hussain and the ones involving Govind Namdeo are an absolute letdown. The effects are of the run of the mill variety.

Director Karan Razdan had a wonderful premise on hand, but the screenplay, penned by him, doesn't do justice to a refreshing thought. Cinematography is alright, although the locations are eye-catching.

Anupam Kher enacts his part with fervor. Satish Kaushik, Ila Arun and Rituparna Sengupta are talented actors all, but the characters don't give them scope to rise beyond a point. Besides, making the characters deliver lines in Gujarati appears odd. Jannat is strictly okay. Atul Kulkarni is hardly there. Zakir Hussain doesn't impress. Ditto for Govind Namdeo. Anang Desai and Karan Razdan are passable. Suhas Khandke gets no scope.

Mere Brother Ki Dulhan Movie Preview

Mere Brother Ki Dulhan Cast and Crew

Imran Khan, Katrina Kaif & Ali Zafar are sharing the screen space in Mere Brother ki Dulhan directed by Ali Abbas Zafar and produced by Aditya Chopra. Music Directors Shankar Mahadevan, Ehsaan Noorani, Loy Mendonsa score music for the tracks

Mere Brother Ki Dulhan is a romantic musical comedy set amongst upper middle class families in North India.

Fun filled ride of humour and romance where Imran falls in love with his brother`s Dulhan is the plot of the story.

The story unfolds with twists & turns which leads to hillarous comedy and the bubbly bollywood babe Preity Zinta is making her comback after pretty long gap as a glam doll.

Bubbly beauty is back in Bollywood to rock and shake and to entertain us with her pretty looks.

Dress up for 'Brother Ki Dulhan'`s marriage party

Khap Movie Review, Review Of Khap Movie

Certain villages in India still follow the age-old customs that have been condemned by the judiciary as well as by the principled and upright citizen. KHAP, directed by Ajai Sinha, who has a number of successful television shows to his credit, deals with the issue of honor killing. It's a story that sends a shiver down your spine because it depicts how couples in love are butchered in the name of honor.

Based in the heartland of India, the director adopts a bold stance of catching the bull by the horns. Come to think of it, people residing in the metros may not be well aware of how innocent people are killed in the name of false honor. This film questions the tradition, but at the same time, the talented storyteller ensures that it doesn't come across as a dark/depressing tale or a documentary with gruesome killings dominating the show. A love story with some interesting, entertaining moments have been interwoven in the narrative to make this film palatable.
KHAP takes you to the land where Khap panchayats rule. Marriages are not made in heaven here. Also, no one dare challenge the age-old customs. Two different worlds collide when Om Puri's granddaughter Yuvika and her husband Sartaj challenge the panchayat's diktat and supremacy.

What really makes KHAP watchable is the fact that the director doesn't take sides. The film just doesn't show the Khap panchayats as perpetrators of honor killings. Of course, the film projects honor killings and the Khap panchayat's commands, but the director concurrently ensures that they aren't projected as outright negative. In fact, a character in the film -- enacted by Alok Nath -- speaks in favor of the Khap panchayat and highlights their achievements as well. I am sure, a film like KHAP may lead to debates in the society.

Nonetheless, there are a few rough edges in the writing. The ending, for instance, is not convincing enough. In fact, it's outright formulaic and clichéd. Besides, the love story has a monotonous start, with the usual song-and-dance routine dominating the initial portions. The director could've curtailed that in an issue-based film. Notwithstanding the hiccups, one cannot deny that the director, who has also penned the film, has made an earnest effort to make a persuasive film.

Ajai Sinha's choice of the subject and also the execution is praiseworthy for most parts. Though KHAP would've been far more impactful had it been a songless film, the songs are well worded and tuned nonetheless. The locales and the cinematography only add to the authenticity.

Om Puri dominates the show with a fine performance. Govind Namdeo is, as always, impactful in a negative role. But it is Manoj Pahwa who shines in his part. He's one of the most under-rated actors who deserves a better deal by the industry. The lead pair -- Yuvika and Sartaj -- is confident, though Yuvika needs to mature in dramatic scenes. Sartaj is easy on the eyes. Mohnish Bahl is strictly okay, while Anooradha Patel is in sync with her character. Shammi Aunty appears in a cameo.

Singham Movie Review

The trend of atypical masala entertainers began all over again with WANTED, which was effectively emulated by the super-successful DABANGG. The larger-than-life hero knocks down 50 thugs and sends them flying in the air with just one punch. He romances the heroine. Puts his life at stake by catching the bull by the horns. Emerges victorious in the finale... Come to think of it, the Indian audience is starved for true-blue masala entertainers that were admired and revered in the 1970s and 1980s. Oh, can we ever forget the serpentine queues outside cinema halls to watch those movies, starring our fav stars? With SINGHAM, the Ajay Devgn - Rohit Shetty team goes back to their roots; both started with action films, if you recall -- PHOOL AUR KAANTE and ZAMEEN, respectively. SINGHAM is one of those earthy, traditional, uncomplicated masala movies that most of us grew up on. The protagonist of SINGHAM is not the desi version of James Bond, nor is he any kind of a superhero.

SINGHAM pays homage to the action films of 1970s, which was known for the heroism, death-defying action sequences and pulse pounding thrills. It's an acknowledgement to one of the most successful genres of Bollywood -- action movies -- known for the trademark good versus evil themes and well choreographed stunts. Unlike many films recently, SINGHAM revives memories of the bygone era that stressed on raw action and was rich in fist-to-fist combat scenes. In fact, it has traces of action that Ajay's father [Veeru Devgn] and Rohit's father [Shetty] immortalized in their movies. But SINGHAM is a film of today, hence the stunts are extremely stylized and polished in keeping with the times. It's raw power presented in a slick demeanor.

Since the time the first promo of SINGHAM went on air, for some strange reason, I've heard people calling it yet another adaptation of DABANGG. The sole similarity between the two films is that both Salman and Ajay wear uniforms in the film. Also, like DABANGG, it's a hero-villain drama. But beyond these two factors, there's no commonality actually. For those who aren't aware, SINGHAM is the remake of the Tamil hit SINGAM, a role made memorable by the towering talent Suriya.

SINGHAM works for varied reasons: The conflict between the protagonist [Ajay] and antagonist [Prakash Raj], the high quality dramatic scenes, the raw action and of course, it mirrors the viewpoint of the common man on the rampant corruption, fraudulent politicians and spineless goons. In short, SINGHAM works as an entertainer, a complete package and if I may say so, it's Rohit Shetty's best work so far.
The backdrop is Shivgad, a small village on the border of Maharashtra and Goa. The film tells the story of an honest, diligent cop Bajirao Singham [Ajay Devgn], who fights against injustice and prejudice using his own ethics and principles. A sudden strike of destiny sets up Singham against the powerful criminal/politician Jaykant Shikre [Prakash Raj], challenging his morals and beliefs. Jaykant's powerful planning and force makes Singham land up in the ruling city of Jaykant Shikre, where he leaves no stone unturned to make Singham's life a nightmare to live.
Singham's supportive girlfriend Kavya [Kajal Aggarwal] and his tryst with late Rakesh Kadam's family [Sonali Kulkarni] makes him realize the importance to bring a change in the system by eradicating the root cause -- Jaykant Shikre -- by not going against the law of force, but by being a powerful part of it.

Though a remake of a super-successful film, director Rohit Shetty ensures that he keeps a tight rein on the writing of the film throughout those 2 + hours. Oh yes, the hero is spotlessly white and the villain, all black, but despite the fact that you know it all, there's no boring or humdrum moment at all. In fact, the drama and also the execution of the written material keeps you completely hooked to the proceedings. Also, Rohit proves that he can deliver a masala flick with as much ease and proficiency as he can deliver a slapstick comic caper.

I'd like to make a special mention of the action scenes [designed by Rohit Shetty and executed by Jai Singh]. At a time when most film-makers opt for action directors from abroad for gadget-driven thrills, SINGHAM goes for the desi flavor and it works luminously. The raw, hardcore action is easily amongst the high points of the movie. On many occasions than one, you have your hearts in your mouths while watching the scenes and what makes it really special is the fact that Ajay has done those death-defying and hazardous stunts himself.

For any good versus evil film to click, it ought to have the protagonist and the antagonist on the same podium. In SINGHAM too, it's not just the hero who's powerful and mighty; the villain is equally ferocious. That's what makes the conflict all the more enjoyable -- it's a fight of the equals. Besides the sequences involving them, a number of dramatic sequences leave an indelible impression. Like the sequence when Ajay bashes up the goons who misbehave with Kaajal in a movie theatre. Also, the sequence between Ajay and the minister [Anant Jog] is terrific. And, of course, the finale, which is simply outstanding. The writing [screenplay: Yunus Sajawal], in a nutshell, is aimed at the masses and works big time.
On the whole, SINGHAM is a full-on masala film that works big time for varied reasons: The energetic drama, the terrific confrontations, the raw stunts and of course, for the three 'heroes' -- Ajay Devgn, Prakash Raj and director Rohit Shetty. It's a complete package of entertainment for the masses and devoted fans of masala movies. This one is sure to roar at the box-office. It has Blockbuster written all over it!

Zindagi Na Milegi Dobara Movie Review, ZNMD Review

By and large, after graduating from school/university, before one steps into a fresh phase in life, friends do settle on having some fun… It could be an extended bachelor party. It could be an excursion. Living each moment to the fullest is what most of us are thinking at that point of time. ZINDAGI NA MILEGI DOBARA is also about living each precious moment, as if there's no tomorrow. It's a film that also deals with surmounting and overpowering our personal fears. In this case, it changes the lives of three youngsters who embark on a road trip to Spain.

Zoya Akhtar represents the new brigade in Bollywood. But the talented storyteller is mired in controversies pertaining to ZINDAGI NA MILEGI DOBARA. Is it similar to HANGOVER? Or is it a present-day adaptation of Farhan Akhtar's directorial debut DIL CHAHTA HAI?

Sure, ZINDAGI NA MILEGI DOBARA is a buddy film like DIL CHAHTA HAI or like any other film that focuses on friends. But comparing DIL CHAHTA HAI and ZINDAGI NA MILEGI DOBARA won't be correct. For, the difference lies in the fact that the individuals in both the films face diverse problems. Aamir, Akshaye and Saif's dilemma is different from that of Hrithik, Farhan and Abhay. Perhaps, people tend to draw parallels between the two films because both focus on male bonding and are also produced by the same production house [Ritesh Sidhwani, Farhan Akhtar]. While DIL CHAHTA HAI was about the friendship between three youngsters and the individual journey each of them undertakes subsequently, ZINDAGI NA MILEGI DOBARA is poles apart in terms of content [screenplay: Reema Kagti and Zoya Akhtar] as well as execution of the written material.

There's concern that ZINDAGI NA MILEGI DOBARA caters to the urban centres of India chiefly. People beyond the metros wouldn't be able to relate with the goings-on. Sure, ZINDAGI NA MILEGI DOBARA is a refined film, a metro-centric film primarily, so what's wrong with that? Yes, it's unlike the masala films some of us relish with glee. But if masala means entertainment, amusement, hilarity, escapade, emotions and drama, yes, ZINDAGI NA MILEGI DOBARA has it all. Only thing, it's treated differently. Everyone has his/her style of interpreting a tale, after all.

ZINDAGI NA MILEGI DOBARA is real and can be rightly termed as a slice of life film. The protagonists don't play 'heroes' in the conventional terms; they are not presented as larger than life here. Zoya's ability in bringing offbeat elements in mainstream cinema needs to be applauded and appreciated. Zoya understands the intricacies of human behavior, which was evident in her debut film, and ZINDAGI NA MILEGI DOBARA strives to impeccably integrate authentic characters and bona fide situations on celluloid.

But the film is not without its share of blemishes. To start with, the drama is missing in the first hour. In fact, the first half comes across as a collage of some well executed sequences. Also, the comic scenes fail to evoke mirth. The three protagonists' attempt to scare strangers in a restroom, bar and on a lonely street doesn't gel well with their suave personalities on-screen. However, if the intention was to evoke laughter, sorry, these scenes fall flat. Besides, mocking at Doordarshan seems out of place and also appears in poor taste. Most importantly, the first half comes across as a showreel to promote Spain Tourism.

Another aspect that goes against the film is its running time. One tends to get restless after a point. In addition, the pacing is lethargic at places and it also gets talk-heavy. Zoya could've been ruthless in bringing down the length of the film. It would've only been more impactful.

Three young men take a holiday that changes their lives forever. Kabir [Abhay Deol] is engaged to Natasha [Kalki]. Kabir decides to go on an extended bachelor party, before he gets married. A 3-week road trip with Imraan [Farhan Akhtar] and Arjun [Hrithik Roshan], his two best friends since school. The only problem is Arjun is too tied up with work. After much emotional blackmail and cajoling, the boys set off on a journey they were meant to take four years ago. A fantasy holiday they had planned to take after college, which never happened. A road trip where each one gets to do the ultimate sport of his choice and the other two just have to do it with him. Whether they want to or not!

Kabir, Imraan and Arjun meet up in Barcelona and set off on an adventure that not only make them iron out their differences, but also face their fears, alter their perception, unravel their fabric, force them to break out of the box and teach them to seize the day. This holiday changes their lives forever.

A travel film is tough to shoot. And it gets all the more difficult when you have a story involving multiple characters. Unlike LUCK BY CHANCE, Zoya does something visually and thematically diverse this time around. In ZINDAGI NA MILEGI DOBARA, Zoya chooses an attention-grabbing story and garnishes it well with moments that may seem straight out of a person's memoirs. In fact, it's a completely novel take on comrades and camaraderie. While the first half has several wonderful moments [the strain between the two friends is well presented], the post-interval portions -- right till the well-thought-of culmination -- keeps your attention arrested.

Reema and Zoya have penned the script with a lot of care and concern, borrowing incidents from real life. Besides, the fresh dialogue [Farhan Akhtar] augment the impact of numerous sequences. The exquisite cinematography is another aspect that catches your attention. The spectacular locales of Spain have been captured on celluloid with dexterity by Carlos Catalan. In an era where earsplitting and tawdry tunes are working big time, Shankar-Ehsaan-Loy come up with tunes that the youth would take a fondness for instantaneously. The songs that appeal the most are 'Ik Junoon' and 'Senorita'.

The film boasts of an exuberant on-screen ensemble cast. As a matter of fact, it's an unusual mix of actors who are not prisoners of any image as such and one is curious to see how well they coagulate in this film. Hrithik takes up challenges for himself with every project he chooses to do and tries to outdo himself by pushing his limits. He is in terrific form here, interpreting an extremely intricate and exceptional character fluently, channelizing every emotion in the book through his eyes. The much-talked-about kissing scene in the film is also aesthetically filmed.

Farhan's character is totally different from his previous roles since he is playing the funster here. But beneath all the fun and jokes is a person who's looking for answers. He's concealing something even from his buddies, something that's disconcerting him persistently. Again, for someone who's not a veteran at acting, this is a character that needs to be handled with a lot of understanding and Farhan, thankfully, gets it right. In fact, Farhan is quite a scene-stealer on more occasions than one.

Abhay's choice of roles has always been offbeat and ZINDAGI NA MILEGI DOBARA reaffirms his stand on the kind of movies he wants to be associated with. Enacting the role of a rich, well brought-up youngster, Abhay is in supreme form, striking a super balance between light and dramatic moments. In fact, Abhay portrays the role with plentiful charm and magnetism.

Katrina is a revelation. In fact, the actress continues to surprise you with her performances in film after film. Besides making an impact as a glamour girl, she's all out to prove her mettle as an actress of substance with ZINDAGI NA MILEGI DOBARA. Kalki plays a Mumbai girl belonging to the upper crust and though it's not a typical 'heroine' role, Kalki infuses life into the character, fitting into the conceived character accurately. Naseeruddin Shah is remarkable in a cameo and so is Deepti Naval. Ariadna Cabrol doesn't get much scope.

On the whole, ZINDAGI NA MILEGI DOBARA has its share of plusses and minuses, highs and lows. It's definitely not for ardent fans of kitsch or those with an appetite for typical masala entertainers. This one's more for spectators with refined tastes and sensibilities. It's a film for a more evolved, mature and cinema-literate audience that's geared up to embrace and support newer genres of cinema.

Don 2 Movie Official Promo Shahrukh Khan ~ Fashion & Style

Farhan Akhtar cancelled the promo launch of his hugely awaited Shah Rukh Khan starrerDon 2 but the promo is finally out. As expected, the promo will raise your expectations from the movie to another level.

It is evident from the promo that the movie is designed and packaged in a Hollywood style courtesy some sleek shots and breathtaking cinematography. There are chase sequences, explosions and everything one can expect from a hardcore action flick.
And the man himself SRK gives a good glimpse of his power and charisma, which will, hopefully, give a ride of their lives to his fans.
The wait for December 23, when Don 2 releases, begins right away!

Mere Brother Ki Dulhan Movie Trailer

The first look of another musical romantic comedy blockbuster from Yash Raj Films “Mere Brother ki Dulhan” is out and all set to release on 9th September 2011. The most awaited blockbuster bollywood includes superstars Imran Khan and Katrina Kaif along with the musician turned actor Ali Zafar in the lead star cast.

It will be first film where Katrina and Imran will be sharing the screen space together. The movie is directed by Ali Abbas Zafar.

Sahi Dhandhe Galat Bande Movie Review

Sahi dhandhe galat bande is directed by parvin dabbas and is action comdey thriller.Movie will release on 19 

august.Preeti jhangiani tried hard to get a good position in Bollywood but failed.Now she has started directing movies but her selection of Stars is not so good.According to me her movie will not get a good place ion box office.Movie is being produced by preti jhangiani and is a low budget movie.Lets see what happen..

Mausam movie Review

Mausam (English: Season) is an upcoming Hindi language film directed and written by Pankaj Kapoor under the Vistaar Religare Film Fund banner.[1] The film stars Shahid Kapoor opposite Sonam Kapoor along with Pankaj Kapoor. The film will mark the first time that Shahid Kapoor has been in a film opposite his father, Pankaj Kapoor. It is also Pankaj Kapoor's directorial debut film. Over the months, Shahid Kapoor has been looking for an actress to star opposite him in the film. He was eager on getting Katrina Kaif to be a part of the film. Kareena Kapoor was another option for Kapoor to choose. In February 2010, Pankaj Kapoor decided that Sonam Kapoor would be featured opposite Shahid Kapoor. The film will be shot in London, Edinburgh, and India. Mausam is set for a release on July 22nd, 2011.

Mausam (season’s of Love), Directed by Pankaj Kapur and starring (his son) Shahid Kapur and Sonam Kapoor, could be facing a motion in the Scottish Parliament to have the film banned in a country where much of it was filmed.

Cinergy Films, founded by Madhu Mentena and Sheetal Vinod Talwar, still owes around £200,000 (14.56M Indian Rupees) to over 200 film extras, production crew and small businesses for time, goods and services provided during the filming in Edinburgh six months after the shoot was completed.

The film was initially funded through the Vistaar Religare Film Fund, part of Religare Enterprises Limited, headed by Sunil Godhwani, and is to be distributed by Eros International plc of London.

Filming started in June 2010 with the first payments to Extra’s and crew around 8 weeks after for the first period of filming in Edinburgh.

Aarakshan Movie Review

Aarakshan is an awaited upcoming Hindi Movie directed andproduced by Prakash Jha starring Amitabh Bachchan, Saif Ali Khan, Deepika Padukone, Manoj Bajpayee, and Prateik.
Aarakshan Movie Story is all about a strict idealistic college principal played by Amitabh Bachchan. Saif plays a dalit's role who is Amitabh's student. He falls in love with principal's daughter (Deepika). Prateik

Babbar plays his friend's role. Aarakshan Movie Story is Centered on recent controversial issue with Supreme Court order on reservations. Story turns into conflict that tests their love, friendship for one another, their loyalty to principal. Aarakshan Movie Trailer will be updated shortly Music for Aarakshan Movie is scored by Shankar Ehsaan Loy Aarakshan Movie Cast and Crew

Hindi Movie : Aarakshan
Produced & Directed by: Prakash Jha
Starring: Amitabh Bachchan, Saif Ali Khan, Deepika Padukone,
Manoj Bajpayee and Prateik Babbar.
Music Director: Shankar Ehsaan Loy

Hiss Movie Review

A lot of us who've grown up on masala cinema of 1970s and 1980s will vividly recall two films made on ichhadhaari naagins - Rajkumar Kohli's NAGIN [1976] and Harmesh Malhotra's NAGINA [1986]. Can we ever forget the revenge of the naagin? Can we ever forget the gripping plot, the spellbinding drama, the lilting music and of course, the unforgettable performances by Reena Roy and Sridevi, respectively?

When a film-maker attempts to make a film on an ichhadhaari naagin in 2010, the viewer expects to watch all of the above, besides great visual effects of course. More so because HISSS is helmed by a Hollywood director - Jennifer Lynch. But, to put it bluntly, HISSS is a nightmare. The film has absolutely nothing to offer - no story, no screenplay, no songs, no performances... even the making is so tacky.

Final word? If there were Razzies in Bollywood, HISSS would win hands down.

The story is about the vengeance of an ichhadhaari naagin. George [Jeff Doucette], a ruthless American, travels to the jungles of India and captures her mate. She transforms into a woman [Mallika Sherawat] with absolutely no clue about contemporary civilization or the ways of mankind, and ventures into the city in desperate search for her lover with vengeance on her mind and venom in her fangs.

Vikram [Irrfan Khan] is entrusted the responsibility of solving the murders and tracking down the mysterious killer.

Films like HISSS make you realize what's going wrong in Bollywood today. On one hand we celebrate the new stories being told in our movies and on the other, we churn out a HISSS, which is badly scripted, poorly enacted and carelessly directed. Believe me, it's easy to solve the crossword puzzle in newspapers than it is to understand what exactly is going on in this film.

As for director Jennifer Lynch, she needs a crash course in film-making pronto. The visual effects seem straight out of a B-grade Bollywood film.

Actors often tell me that they choose films based on the script, so what exactly did Irrfan Khan see in HISSS? Mallika has no dialogue all through the film, she changes lenses, then changes into a snake outfit and also goes full monty. That's it! Divya Dutta is wasted. Raman Trikha is passable. The actress enacting the role of Divya's mother is okay.

Murder 2 Movie Review

We live in an era wherein brands and franchise have become the order of the day. When a movie works with the audience and also has strong recall value, the film-makers plan to keep the franchise breathing by either making a prequel or sequel. Though MURDER had released more than seven years ago [April 2004], it continues to linger in public memory for varied reasons and not only for its sizzle factor. MURDER had a spellbinding story, great music and proficient performances by its principal actors. In fact, MURDER catches the attention of spectators to this date and obtains high TRPs, despite several telecasts on TV. 'Tremendous repeat value', like they say in filmi parlance.

Mahesh Bhatt and Mukesh Bhatt choose not to make movies with big stars. Instead, they substitute stars with big initiatives and innovative concepts. In fact, their penchant to work with a new cast and crew is simply unstoppable. Besides, the success ratio indicates that their strategy has paid off rich dividends even with fresh talent. What sets apart their films, besides the above said reasons, is the fact that their films are high on sexual content. An innovative story with generous doses of eroticism has always proved a winning blend.

The Bhatts' new offering is the sequel to MURDER. This one's set in Goa during Christmas and New Year, when vacationers flock this hugely popular touristy destination. The bustling streets and beaches make it impossible for the authorities to keep tabs on everyone and everything. A serial killer is on the loose... An interesting concept, without doubt!

Before I begin analyzing MURDER 2, let me clear a few misconceptions. The writer of this film may have drawn some inspiration from the Korean film THE CHASER [2008], but it's not a blatant rip-off. Nor is it a remake or adaptation of the American action film 12 ROUNDS [2009]. MURDER 2 deals with the crimes related to the flesh trade and exposes the murkier side of the society.

MURDER 2 offers edge of the seat entertainment, thus taking the MURDER brand forward. It's not a sequel in the true sense of the word. It has a completely new story to tell with fresh characters, is bolder and far more erotic, plus the clash between the good and the evil is one of the key components of the franchise.

Mohit Suri, who had directed the sequel to RAAZ [RAAZ THE MYSTERY CONTINUES], is also entrusted the responsibility of taking the MURDER series forward. Compared to what Anurag Basu did in MURDER, MURDER 2 is a dark film. Mohit is an efficient, stylish storyteller and he leaps notches above the prequel in every aspect. There are some scenes that may appear disturbing, but that's the strength of this movie. It's not for the weak-hearted. In point of fact, Mohit and writer Shagufta Rafique take the story to a heightened violent level.

Arjun [Emraan Hashmi] is an ex-cop who earns his bread doing the odd jobs for gangsters and flesh traders. Arjun meets Sameer, a Goan flesh-peddler, who has been suffering a huge loss as his hookers have been disappearing mysteriously. He assigns Arjun the responsibility of tracing the missing girls. Priya [Jacqueline Fernandez], a model, loves Arjun. However, he is hesitant to commit to this relationship.

Arjun realizes that the missing hookers are connected by one cell phone number. He decides that in order to catch the lion one must feed him the lamb. He devises a plan that involves sending a girl to the particular customer.

Reshma [Sulagna Panigrahi], a college student, takes to prostitution to support her family. She becomes the innocent prey and is sent to the antagonist Dheeraj's [Prashant Narayan] house. The unexpected happens. In the meantime, Arjun and Dheeraj cross paths. Arjun gets into a tiff with Dheeraj and they both land up at the police station. Dheeraj admits to a crime so heinous that even the police are stunned by his outrageous behavior.

Now it's all up to Arjun. He has just one night to find proof against Dheeraj and also trace Reshma.

Director Mohit Suri and writer Shagufta Rafique come to the point at the very start, when a gruesome murder takes place. Thereafter, we are introduced to the varied characters in the plot and what makes it all the more interesting is that all characters are either grey or black. Also, the identity of the serial killer is never concealed, but the motive is, which one realizes much later. It comes as a jolt, honestly!

While the screenplay gives you no time to ponder since it unravels at a feverish pace, the assorted characters and their tracks keep you on tenterhooks throughout. The victim finds herself cornered, the ex- cop is looking for evidence, the serial killer finds himself being shielded by a powerful and influential person... the sequence of events that lead to the culmination are truly nail-biting.

On the flip side, the story stagnates slightly towards the beginning of the second hour. The sequence between Emraan and Jacqueline at the former's home, with Jacqueline in an inebriated state, appears like a forced add-on. Also, one misses the chartbusting 'Bheege Honth Tere' kind of track in this hour, since the two songs that are hugely popular have been placed in the first hour.

Director Mohit Suri reignites the flicker that he illustrated in his early films. He's a skilled, competent storyteller and this film reiterates the fact yet again. Ditto for writer Shagufta Rafique, who's supremely talented as well. Though she may seem inspired from a source, Shagufta gives MURDER 2 her own color and shade. Both Mohit and Shagufta push the limits in terms of the characters and the situations that have been created. You just can't guess what's up in store next, which has ample scenes that would leave you startled and dazed. The Bhatts have always had a good track record as far as music goes and MURDER 2 is no exception. If one avoids comparing the soundtrack with the prequel, this film has a rich soundtrack that works well. 'Haal E Dil' [music: Harshit Saxena] and the track filmed on Yana Gupta at the onset, 'Aa Zara' [music: Sangeet Haldipur-Siddharth Haldipur], are first-rate compositions. Ravi Walia's cinematography is top notch.

Both Emraan and Prashant Narayanan vie for top honors. Emraan delivers a spirited performance, playing the angry guy to perfection. He's so with the character. In fact, this would rank amongst Emraan's most accomplished performances. Prashant is a dynamic actor -- a fact that has been proved time and again. This film is sure to make people sit up and notice this wonderful talent. Stepping into Mallika's shoes in the sequel is Jacqueline. Like Mallika, she takes the boldness quotient to the next level with her sexy avatar. She should grab a lot of eyeballs for the oomph factor, while her performance is decent. In fact, she gets little scope to display histrionics, but she makes a sincere attempt to portray her character with care.

Sulagna Panigrahi is a talent to watch out for. She's first-rate. Sudhanshu Pandey enacts his part with a lot of confidence. Sandiip Sikcand surprises with a stellar act. Though a brief part, his performance adds a lot of spice to the proceedings. Shweta Kawatra shines in that lone sequence. Yana Gupta sizzles in the opening track.

On the whole, MURDER 2 is one of the finest crime stories to come out of the Hindi film industry. Also, as a film, it lives up to the expectations that you may associate from a sequel of a smash hit. This one's bolder, more erotic and has a story that will astound and astonish you. The Bhatts have a winner on hand!

Zindagi Na Milegi Dobara Music Review

Expect ations will be in peak When the musice is by Shankar-Ehsaan-Loy, The trio is famous for their classic musical scores. They h ave tried to maintain the same spirit high for their upcoming Movie Zindagi na milengi Dobara. The movie is having light soothing songs which has got the same factors for the songs of Shankar - Ehsaan - Loy.
The album got nine songs and one notable thing in ZNMD is actors tried out a different ride of singing.
The opening song is Dil dhadakne. Before the movie hitted the silverscreen the song gained great popularity. Crooned by Shankar Mahadevan,Suraj Jagan and Joi Barua, the song starts with a bang and makes its presence felt. The chorus is foot-tapping and the part that creates maximum interest. The guitar is prominent. The song had given a good start for the movie.

Next in line is a multiple singer song Ik junoon (Paint it red) that has Shankar Mahadevan, Vishal Dadlani, Ehsaan Noorani, Alyssa Mendonsa and Gulraj Singh behind the mike. With a combination of English and Hindi lyrics, the fast-pacedyouthful song is nothing out of the ordinary. It is neither bad nor brilliant.

It also has a remixed version, which is equally average.Then comes in a song with a raw and fresh feel Khabon ke parindey with vocals by Alyssa Mendonsaand Mohit Chauhan. The hummable mush melody is an all and all Alyssa song since Mohit enters the scene only after more than two-and-a-half minutes. However, even though he makes a brief presence, Mohit's vocals add an edge and some kind of substance to the song. It's a track you would like to hear in loop.Then the actors take the mantle of singing with Senorita, which has been sung by Abhay Deol, Hrithik Roshan and Farhan Akhtar with ample support from Maria Del Mar Fernandez, who sings the Spanish lines in the song. A fun number, Senorita is catchy with Spanish influences and is a dance number. It is lively and energetic and adds colour to the album. The experiments paid off.

Senorita also has a remixed version.Der lagi lekin is a moderately paced track, which sounds like more of an unplugged version. It has vocals by Shankar Mahadevan and slowly grows on you. It's a sweet, simple song that picks pace towards the end.Up next is Sooraj ki baahon mein by Loy Mendonsa,Dominique Cerejo and Clinton Cerejo, which is another high power track. It starts with lyrics and then music follows in. With variations in vocals, the song is worth a hear.Finally Farhan Akhtar steps in with a philosophical monologue titled Toh zinda ho tum. With slight music, this almost 100-seconds narration is poetic.On the whole, the music of Zindagi Na Milegi Dobara is a good mix of Bollywood sounds and external influences. Shankar-Ehsaan-Loy have stuck to their signature style and have churned out a decent score.

Bbuddah - Hoga Terra Baap Music review

Music Directors: Shekhar Ravjiani and Vishal Dadlani

Lyricists: Vishal Dadlani, Swanand Kirkire and Anvita Dutt Guptan

Singers: Amitabh Bachchan, Vishal Dadlani, Monali Thakur, Shekhar Ravjiani, Sunidhi Chauhan and Abhishek Bachchan

The soundtrack of "Bbuddah...Hoga Terra Baap" is an all and all Amitabh Bachchan album with four out of five tracks sung by the megastar himself. The songs are not extraordinary, but one can hear it once.
Soulful number "Haal-e-dil" crooned by Amitabh with backing vocals by Monali Thakur and Shekhar Ravjiani opens the album and sets the mood. The mushy outing starts with entire focus on Big B's voice and minimal music, but as it progresses, the musical arrangement becomes stronger. The track is slow and likeable.
Next comes in the title track called "Bbuddah...hoga terra baap" and Amitabh has sung it in a Capella style, in which a person or a group sings without any instrumental sound. The song has a fun element owing to its witty lyrics. An interesting attempt.
It has a re-mixed version, but that is average.
Then comes "Go Meera Go", again sung by Amitabh and his son Abhishek Bachchan, making it a rare event when the father and son have crooned together. It is a mix of Amitabh's hit songs, including a rap section by Abhishek.
The songs that are included are "Khaike paan banaras wala", "Pag ghunghroo baandh meera naachi thi", "Rang barse" and "Sara zamaana haseeno ka deewana" among others.
Finally, there is Sunidhi Chauhan singing "Main Chandigarh di star" that seems like an item number. It is an out and out dance number with strong beats and a fast pace. Nothing impressive in this number.
On the whole, an average soundtrack, which sounds suitable for the film.

Bbuddah - Hoga Terra Baap Movie overview
Starcast: Amitabh Bachchan, Sonu Sood, Hema Malini, Minissha Lamba, Neha Sharma, Raveena Tandon, Sonal Chauhan

Director: Poori Jagannath

Delhi Belly Movie Review

Much before I watched DELHI BELLY, I was told very categorically that the film will reduce to rubble the image of Aamir Khan, the producer, which he has very painstakingly and meticulously built over the years. I disagree with this viewpoint. Sure, Aamir Khan steps into a territory that is least expected of him. Agree, DELHI BELLY is expletive-ridden, has several scandalous moments which give you a 440 volt ka jhatka and is just not for the faint-hearted. But DELHI BELLY is not outrageous just for the sake of it. It doesn't shock for effect. The truth is, DELHI BELLY has a novel story to tell and the cuss words/outrageous moments are integral to the plotline and have been juxtaposed seamlessly in the narrative.

Let me introduce you to DELHI BELLY. It is Bollywood's most daring, cheeky, irreverent, blasphemous, raunchy youth film to date and the lurid content, I am certain, has never been witnessed on the Hindi screen before. Even some hugely popular reality shows that have the participants using the most appalling, colorful lingo to garner attention and TRPs, would pale into insignificance. Belonging to the same genre as THE HANGOVER and LOCK, STOCK & TWO SMOKING BARRELS, DELHI BELLY is the ultimate culture shock for Indian audiences. It is a raucous, boisterous, potty-mouthed caper featuring the antics of three hapless young men.


DELHI BELLY is a verbally explosive comical crime-caper, with a smart screenplay and witty dialogue as its aces. It is funny, has a lot of energy and most importantly, as you protest that Hindi movies thrive on beaten-to-death formula, a film like DELHI BELLY defies the stereotype and comes alive with a brand new recipe [writer: Akshat Verma]. The writing is airtight and the movie moves from one episode to another furiously. Original in style and thoroughly entertaining, backed by colorful characters and superior acting, there's no film quite like this one or should I say, there is no film that matches the sheer brilliance of DELHI BELLY. It's a top-quality comical thriller made with guts and gusto. I can assure, you will exit the auditorium with a grin on your face.

If a film like DELHI BELLY works -- which I am sure, it will -- it will propel film-makers to explore this untapped genre of cinema. It will encourage them to push the boundaries and undertake risks. It will usher in a new era of comedies of this kind that have never been explored on the Hindi screen.

Tashi [Imran Khan], Arup [Vir Das] and Nitin [Kunal Roy Kapur] -- flat mates, buddies and partners in crime. Tashi is to get married in a month to the glamorous Sonia [Shenaz Treasury]. Arun has been dumped by his girlfriend and also has an annoying boss [whose idea of creativity is sketching a smiling banana]. And Nitin is about to discover that eating delicious Tandoori Chicken off a street vendor is going to give him the worst case of Delhi Belly he's ever known!

Transformers: Dark of the Moon (3D) - Movie review

Transformers: Dark of the Moon (3D)
U/A; Action
Dir: Michael Bay
Cast: Shia LaBoeuf, Josh Duhamel, Rosie Huntington-Whitely, John Malkovich, Patrick Dempsey, Ken Jeong, John Torturro, Peter Cullen, Tyrese Gibson
Rating: *1/2


Did the cinema audience  need another epic cinematic clash between Autobots and Decepticons? After the crushing disappointment of Transformers: Revenge of the Fallen, I expected the series to lay low but I probably did not account for Michael Bay's enthusiasm and the studio's greed for lucre.

Dark of the Moon is coherent -- every little detail is explained to everyone's satisfaction but the lay-up towards the final climactic plunge is so boredom enhancing that you would find it difficult to stay awake behind your 3D glasses.

The film is about the war between the Autobots and Decepticons, shape-shifting fighting machines belonging to fierce extraterrestrial rival tribes. Of course the villainous Decepticons are intent to secure Earth in order to support their home Planet Cybertron. Optimus Prime wants to revive Sentinel Prime from his ancient slumber.

Sam Witwicky (LaBeouf) jobless in Washington DC, living with hot gf Carly (Huntington-Whiteley), and temporarily abandoned by Bumblebee, jumps into the fray and soon butts heads with national intelligence director Charlotte Mearing (Frances McDormand).

Revisionist history also proclaims that John F Kennedy fast-tracked the moon landing in order to secure a site where a giant Autobot vessel had crash-landed after a war on Cybertron.

But that is not a piece of history you can care for here. The overly-detailed script by Ehren Kruger is more like an encyclopaedia on the world of Autobots and Decpticons, than a high-octane action movie script. The narrative plays out smoothly but it's a tedious wait before the advent of advanced CGI wizardy can make a show of it at the end. Each frame takes longer to move on  and the 3D enhanced shape-shifting, though it is cohesively done, fails to enthuse.

Actually there is not enough energy in the set-up and development to justify the all-out action towards the end. It's hard to sit still watching metallic characters hammering one another in a unnecessarily protracted battle (ironically held at the corner of Michigan Avenue and Wacker Drive in Chicago) for the Universe.

The attempt to boost-up the action towards the finale with an almost orgiastic pile-up of machines and humans looks quite hollow. The replacement for the luscious Megan Fox, British model Rosie Huntington Whitely  looks beautiful but she doesn't have either the  magnetic screen presence of her predecessor nor can she generate sizzling chemistry with co-star Shia. So that appears to be another spanner in the wheels of this mega fantasy in Imax 3D. Just Too bad!